This portrait formerly belonged to the Avogadro Collection in Brescia & it probably represents Gerolamo Avogadro (died 1534). Dated on the step (bottom right), it is the earliest known independent life-size full-length portrait produced in Italy. The distant gaze of the sitter & the amplitude of the costume recall the tradition of Venetian portraiture as developed by Giorgione & the young Titian in the early years of the 16th century. A Saint Christopher badge is prominently displayed on the gentleman's hat. ...

The unidentified sitter is holding two pinks. This painting is the pendant to a ' Portrait of a Woman', showing an unknown lady holding lily-of-the valley, which is in the Oscar Reinhart collection, Winterthur. The two paintings may be betrothal or marriage portraits. They may originate from the Danube region. ...

The sitter has not been identified. Portraits of less than half-length, such as this, are rare in Mor's work, but this picture is not believed to be a fragment of a larger work. Mor was painter to the Spanish court at Brussels, but also painted his Netherlandish contemporaries. This portrait may have been painted when he was living in Antwerp after 1568. ...

This is one of only four signed paintings by van der Plas. The sitter, whose pilgrim's staff stands on the left & whose face looks up towards a vision of the resurrected Christ, has not been identified. The scroll below the sitter's hand may well have once carried an inscription which explained the commission. ...

Antonello's ' Portrait of a Man' is probably a relatively late work. It is likely that there was originally a parapet at the base bearing the painter's signature, but this has been removed. The picture is often thought to be a self portrait, because the direct gaze, as if painted looking in a mirror, is typical of self portraits. X-ray photographs reveal that the eyes were originally turned the other way, which may call this idea into question. Antonello was one of the first of the Italian artists to learn from Netherlandish art. The attention to detail & intensity of expression in the ' Portrait of a Man' are comparable to Netherlandish portraits. It is Antonello's mastery of oil paint which enables him to achieve these effects. ...

The sitter has not been identified. The costume seems to be of the late 1640s or of the 1650s. This painting has been categorised in the past as being Dutch, but is probably Flemish, & may be associated with the work of Lucas Franchoijs the Younger. ...

The sitter holds a sword & is elegantly dressed. The painting is inscribed top right as the work of Catharina, the daughter of the painter Jan van Hemessen, who worked at Antwerp, the leading centre of artistic activity in the Low Countries at this period. The small size format of the painting is characteristic of her work. ...

The composition derives from a print of 1624 by Paulus Pontius (1603
- 1658) made after a portrait by Rubens of Prince Vladislav
...

Possibly a copy, perhaps after a work by a painter of the Amsterdam School. The costume is probably datable to about 1640-45. ...

This soberly-clad man gazes out at us. His dress is typical of the mid-16th century, but the painting is poorly preserved, which makes identification of the sitter & artist difficult. ...